Nudes

Parkstone International
11

Just as there is a fundamental difference in the use of the words “naked” and “nude”, the unclothed body can evoke a feeling of delight or shame, serving as a symbol of contradictory concepts – beauty and indecency. This book is devoted to representations of the nude by great artists from antiquity and the Italian Renaissance to French Impressionism and contemporary art; from Botticelli and Michelangelo to Cézanne, Renoir, Picasso and Botero. This beautifully produced book provides a collection that will appeal to all art lovers.
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3.3
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Additional Information

Publisher
Parkstone International
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Published on
Jul 1, 2011
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Pages
256
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ISBN
9781780423203
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Best For
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Language
English
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Genres
Art / General
Art / Subjects & Themes / Erotica
Art / Subjects & Themes / Human Figure
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Content Protection
This content is DRM protected.
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Eligible for Family Library

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Many of us want to learn “how to draw.” But as artist Anthony Ryder explains, it’s much more important to learn what to draw. In other words, to observe and draw what we actually see, rather than what we think we see. When it comes to drawing the human figure, this means letting go of learned ideas and expectation of what the figure should look like. It means carefully observing the interplay of form and light, shape and line, that combine to create the actual appearance of human form. In The Artist’s Complete Guide to Figure Drawing, amateur and experienced artists alike are guided toward this new way of seeing and drawing the figure with a three-step drawing method.

The book’s progressive course starts with the block-in, an exercise in seeing and establishing the figure’s shape. It then build to the contour, a refined line drawing that represents the figure’s silhouette. The last step is tonal work on the inside of the contour, when light and shadow are shaped to create the illusion of form. Separate chapters explore topics critical to the method: gesture, which expresses a sense of living energy to the figure; light, which largely determines how we see the model; and form, which conveys the figure’s volume and mass. Examples, step-by-steps, and special “tips” offer helpful hints and practical guidance throughout.

Lavishly illustrated with the author’s stunning artwork, The Artist’s Complete Guide to Figure Drawing combines solid instruction with thoughtful meditations on the art of drawing, to both instruct and inspire artists of all levels.
Picasso was born a Spaniard and, so they say, began to draw before he could speak. As an infant he was instinctively attracted to artist’s tools. In early childhood he could spend hours in happy concentration drawing spirals with a sense and meaning known only to himself. At other times, shunning children’s games, he traced his first pictures in the sand. This early self-expression held out promise of a rare gift. Málaga must be mentioned, for it was there, on 25 October 1881, that Pablo Ruiz Picasso was born and it was there that he spent the first ten years of his life. Picasso’s father was a painter and professor at the School of Fine Arts and Crafts. Picasso learnt from him the basics of formal academic art training. Then he studied at the Academy of Arts in Madrid but never finished his degree. Picasso, who was not yet eighteen, had reached the point of his greatest rebelliousness; he repudiated academia’s anemic aesthetics along with realism’s pedestrian prose and, quite naturally, joined those who called themselves modernists, the non-conformist artists and writers, those whom Sabartés called “the élite of Catalan thought” and who were grouped around the artists’ café Els Quatre Gats. During 1899 and 1900 the only subjects Picasso deemed worthy of painting were those which reflected the “final truth”; the transience of human life and the inevitability of death. His early works, ranged under the name of “Blue Period” (1901-1904), consist in blue-tinted paintings influenced by a trip through Spain and the death of his friend, Casagemas. Even though Picasso himself repeatedly insisted on the inner, subjective nature of the Blue Period, its genesis and, especially, the monochromatic blue were for many years explained as merely the results of various aesthetic influences. Between 1905 and 1907, Picasso entered a new phase, called “Rose Period” characterised by a more cheerful style with orange and pink colours. In Gosol, in the summer of 1906 the nude female form assumed an extraordinary importance for Picasso; he equated a depersonalised, aboriginal, simple nakedness with the concept of “woman”. The importance that female nudes were to assume as subjects for Picasso in the next few months (in the winter and spring of 1907) came when he developed the composition of the large painting, Les Demoiselles d’Avignon. Just as African art is usually considered the factor leading to the development of Picasso’s classic aesthetics in 1907, the lessons of Cézanne are perceived as the cornerstone of this new progression. This relates, first of all, to a spatial conception of the canvas as a composed entity, subjected to a certain constructive system. Georges Braque, with whom Picasso became friends in the autumn of 1908 and together with whom he led Cubism during the six years of its apogee, was amazed by the similarity of Picasso’s pictorial experiments to his own. He explained that: “Cubism’s main direction was the materialisation of space.” After his Cubist period, in the 1920s, Picasso returned to a more figurative style and got closer to the surrealist movement. He represented distorted and monstrous bodies but in a very personal style. After the bombing of Guernica during 1937, Picasso made one of his most famous works which starkly symbolises the horrors of that war and, indeed, all wars. In the 1960s, his art changed again and Picasso began looking at the art of great masters and based his paintings on ones by Velázquez, Poussin, Goya, Manet, Courbet and Delacroix. Picasso’s final works were a mixture of style, becoming more colourful, expressive and optimistic. Picasso died in 1973, in his villa in Mougins. The Russian Symbolist Georgy Chulkov wrote: “Picasso’s death is tragic. Yet how blind and naïve are those who believe in imitating Picasso and learning from him. Learning what? For these forms have no corresponding emotions outside of Hell. But to be in Hell means to anticipate death. The Cubists are hardly privy to such unlimited knowledge”.
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